It is useful to reflect upon the reciprocal nature of the relationship of the work of art to the artist when one confronts the enigma evoked by the production of Gabriel, whose theoretical discourse is inseparable from his artistic practice. The artist necessarily asserts the autonomy of “form,” through every physical occupation of space that shapes and objectifies the flux of appearances. So, under these conditions, and in order to rule out any finality other than his own, he tolerates only “formless” form. Interest in Gabriel’s work resides precisely in his resistance to imitation, under

During the ’80s in Spain, artists could be roughly grouped according to the formal and conceptual characteristics that defined their work. There were those artists who tried to connect with the North American avant-garde, and used it as a reference point while projecting local political or social concerns. Their work, converted into a political weapon, denounced, or parodied Spanish society, Spanish history, and the lack of willingness to confront or analyze it. A second group, comprised of artists who still held to the unfashionable “art for art’s sake” credo, focused on their work, which